_ JOHN SINGER SARGENT 
PHCHOOHECEEEEE 


A CATALOGUE OF THE MEMORIAL EXHIBITION 

OF HIS WORKS AT THE MUSEUM OF FINE ARTS 

BOSTON - FROM NOVEMBER THIRD TO DECEMBER 
) TWENTY-SEVENTH - MCMXXV 

















MEMORIAL EXHIBITION OF THE 
WORKS OF 
JOHN SINGER SARGENT 





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SELF PORTRAIT OF JOHN SINGER SARGENT By permission of Anderson, Rome 
Uffizi Gallery 


No. 58 


'A CATALOGUE OF THE 
MEMORIAL EXHIBITION OF THE WORKS OF 
i Bet ALE 


JOHN SINGER SARGENT 


OPENED ON THE 
OCCASION OF THE UNVEILING OF MR. SARGENT’S 
MURAL DECORATIONS OVER THE MAIN STAIR 
CASE AND THE LIBRARY OF THE MUSEUM 


EXHIBITION FROM 
NOVEMBER 3 TO DECEMBER 27 
NINETEEN TWENTY-FIVE 








BOSTON - MASSACHUSETTS 
MUSEUM OF FINE ARTS 


MCMXXV 


a 





"SECOND iprtiow alee. ie 


an 


PRINTED IN THE UNITED STATES 


ACKNOWLEDGMENT 


THE TRUSTEES WISH TO EXPRESS THEIR THANKS 
TO FRIENDS OF THE MUSEUM FOR THE VERY GENEROUS 
WAY IN WHICH THEY HAVE COME FORWARD, OFTEN AT 
CONSIDERABLE PERSONAL INCONVENIENCE, TO AID IN 
MAKING THIS EXHIBITION A WORTHY MEMORIAL. 





FOREWORD 


HISTLER once said — with pungent zest — that painting 
and literature, being two distinct arts, it was just as futile 
© to write a criticism of a painting asit would be to paint 


\ a criticism of a book. The hint may not be lost upon us 





7 in the presence of this notable collection of John Sar- 
gent’s paintings, and we can safely leave them to speak for themselves. 
Moreover, the quality of his painting has been so fully recognized by 
eminent critics of both continents, that it may not be amiss here to 
dwell upon the development of his career and the more personal side 
of the artist and the man, from a personal knowledge extending over 
many years. 

John Sargent came from the Florence Academy of Fine Artsin 1874, 
when he was eighteen years old —well fitted for his entry into the 
French atelier of Carolus-Duran, where he remained five years. He 
could already draw and paint well, the result of painstaking and minute 
work. His first training, it is said, came from his mother who set him to 
copying the tea service on the family table; while his preference for the 
Italian Primitives indicated the direction of his early choice. As water- 
color was his first medium, so it was his first love, and continued to be 
to the end; even his oils reflected, by their easy flow, the medium of 
water-color in which he painted so fluently. 

I remember well meeting Sargent in Paris in the early eighties, and 
I can see him now: very tall, almost slight of build, of erect carriage, 
and wearing a dark roundish beard—the picture of a handsome attractive 
young man, rather awkward and shy, but withal possessing the indes- 


cribable charm of a fresh, winning personality. He was then, as he 


[ vii ] 


continued to be, a man of few words, which were as carefully and labori- 
ously sought for as were the various phases of his art. 

Let no one think that he attained with one bound his mastery of eye 
and brush; it was preceded by a long and painstaking apprenticeship 
during which he searched, with a precision never discarded even in the 
heyday of his greatest freedom and mastery of expression. 

Sargent’s first success was the portrait of his master exhibited in the 
Salon of 1877 which gained him a mention honorable; and the medals 
followed in increasing preciousness of metal and value — bronze, silver, 
and gold. Then appeared in the Salon of 1882 the portrait of Miss 
Burckhardt —“ The Lady with the Rose’’— one of the best things Sar- 
gent ever did, which placed him in the first rank of portrait painters. In 
the same year, but of a very different and distinct note, came a dazzling 


’ 


production, “ El Jaleo’’—the Spanish dance now in Fenway Court, 
Boston. That canvas also made a profound impression and stamped the 
painter asa genius. But another was to follow, in 1884, quite different 
from these, yet on the same high level — one of those ‘‘ damned ultimate 
things’’ acclaimed by all. I was present at the opening of a small coterie 
of exhibitors at the Ga/erte Georges Petit when that painting — the Boit 
children — was first shown. The artistic and fashionable world crowded 
around it, lost in admiration and wonder, for it was an epochal piece of 
painting, of a bigness of vision and execution unseen since the days of 
Velazquez and Frans Hals. Carolus-Duran was there, proud of the 
achievement of his pupil, but disturbed — visibly so, for it was apparent 
that his young pupil, at the outset of his career had already surpassed 
his master. 

In that same year, 84, was exhibited in the Salon the portrait of 
Mme. Gautreau now in the Metropolitan Museum. How advanced it 
looked then, especially in the flat tones of the face! «‘ C’est Japonais,”’ 


wrote Albert Wolff, whose pen was as poisonous as it was brilliant, <I] 


[vii] 


a voulu jouer avec le monstre, et le monstre l’a dévoré”’. This produc- 
tion was far ahead of the times, and provoked much comment, which 
resulted in its remaining in the painter’s studio. The event, I was told 
later, was one of the contributing causes which drew him to London 
where honors and orders were showered upon him. 

The teaching of his master had sucha strong influence upon Sargent’s 
method of painting that it may be worth while to give a summary of its 
tenets in Carolus-Duran’s own words: “Search for the values, again the 
values, and always the values. Establish the half-tones (/a demz-teinte ) 
as a basis, then a few accents and the lights. Seek the salient character 
of the model. All that is not indispensable is harmful (muzstb/e ). Art 
means selection — therefore select.”’ 

It is easy to trace these tenets in Sargent’s remarkable accuracy of 
values; in his method of establishing the half-tones; in his accentuation 
of the character of his sitters; in his elimination of all but the bare es- 
sentials; and, lastly, in his masterly development of selection. Of these 
principles, the one that had the greatest hold upon him was the estab- 
lishing of half-tones upon his canvas. Even a superficial analysis of his 
work reveals how entirely he adopted this procedure. It explains why 
he almost invariably took up his half-tones afresh each day. It ex- 
plains, also, the unity of his work, for in simplicity of method and ex- 
pression Sargent developed a new style in modern painting which has 
left its mark upon painters the world over. 

If he followed a method in this essential, he had no color method, as 
an eminent expounder of the latter claimed. Questioned about this, his 
answer was characteristic, and it settles in part another assertion that he 
delved into the psychology of his sitters. «Certainly not! I paint what 
is before me, using my brains and my feeling.”’ A good deal has been said 
about this inner “delving”’, but it is probable that, although he got 


strong impressions of people one way or another, he painted what he 


[ix] 


saw, and that, in so masterly a manner, as to reveal, unconsciously, what 
was below the surface. Moreover, as Carolus-Duran dinned into his 
pupils the importance of seizing the character of the model, it is possible 
that Sargent over-emphasized it, and so was credited with reading in- 
ner qualities which were but reflected on the surface. 

Although Sargent passed through the mill of grinding work, to ex- 
pand into what has been termed his “amazing facility and astounding 
accuracy ’’— he continued to search with painstaking to the end. I was 
able to verify this in watching him paint two portraits. It was apparent 
that a tremendous power was at work, yet accompanied by considerable 
effort and care. While actively pacing the floor, grumbling criticism of 
his work and mumbling scraps of conversation, the work proceeded, 
suggesting alternately the tugging effort of a freight engine and the 
rapid ease of an express flyer. 

Turning to Sargent, the man, we find that his life and his tastes were 
simple. With unusual opportunities for acquiring beautiful things, he 
bought little himself, satisfied to enjoy them in museums and in the 
houses of his friends; and his London studios contained, beside a few fine 
pieces of tapestry, furniture and brocade, little but the accessories needed 
for his sitters. His three great devotions were his family, his painting, 
and his music. Sargent’s prepossession lay in the making. Once finished, 
his interest in a canvas seemed to wane, and he wanted it removed, to 
begin work upon another; he even forgot that he had produced certain 
canvases. 

A writer in the London Times speaks truly of “the gentleness which 
went with his great stature to make him something like a good giant 
in a fairy story,” for he was ever kind, and considerate of the feelings of 
others, and always ready to render good services to those in need. Many 
a young painter has been helped along by his advice and encouragement. 


His method of criticism was characteristic of him: he commended the 


[x] 


best points, then singled out others which did not come up to them; and 
thus, his criticism not being destructive, was of the greater value. 

John Sargent, in the later years, lived a quiet life in London, seeing 
just a few friends and avoiding public and private functions. He was 
possessed of a degree of reticence and impersonality not to be expected 
in one who had seen so much of the world, and met on terms of equality 
its rulers, its aristocracy, and those distinguished in all professions. But 
even more noteworthy was the modesty and bigness of nature which 
remained untouched by unbounded success and admiration. 

Sargent’s modest estimate of the money value of his work did not 
accord with the high prices to which it soared in the open market, and 
this troubled and vexed him. For the decorations in the Boston Public 
Library he named the price himself but as his expenses far surpassed 
that sum, his work resolved itself into a gift to the City of Boston. 
When he heard that a study of his had been sold for a large sum, he ex- 
claimed, “‘What nonsense, it is worth $70.00, not a cent more; what 
can I do about these absurd prices?”’ 

John Sargent has been well called “a big man, an honest man, who 
hated all sorts of shams’’. He was also a strong man, loyal and modest, 
but the dominant note of his make-up was kindliness and simplicity. 


J. TEMPLEMAN COOLIDGE 





OIL PAINTINGS 


AN ATTEMPT HAS BEEN MADE HERE TO LIST 
THE PAINTINGS ACCORDING TO THE DATES OF EXECUTION 
AS FAR AS IT IS POSSIBLE TO DETERMINE THEM 





OIL PAINTINGS 


NuMBER I 

STUDY OF A STAIRCASE 

1874 Lent by Dr. George Woodward 
NuMBER 2 


REHEARSAL OF THE PASDELOUP ORCHESTRA AT 
THE CIRQUE D’HIVER 


1876 Museum of Fine Arts 

NuMBER 3 

PORTRAIT OF MRS. HAROLD FARQUHAR HADDEN 
1878 Lent by Mrs. Harold Farquhar Hadden 
NuMBER 4 

LOW TIDE AT CANCALE HARBOR 

1878 Museum of Fine Arts 

NuMBER 5 

OYSTER GATHERERS OF CANCALE 

1878 Lent by the Corcoran Gallery of Art 
NuMBER 6 

PORTRAIT OF ROBERT DE CIVRIEUX WITH DOG 
1879 Museum of Fine Arts 

NuMBER 7 

LUXEMBOURG GARDENS AT TWILIGHT 

1879 Lent by the Minneapolis Institute of Arts 
NuMBER 8 

PORTRAIT OF EDWARD BURCKHARDT 

1880 Lent by Mrs. Harold Farquhar Hadden 
NuMBER 9 

MID OCEAN, MID WINTER 

1880 Lent by Mrs. Frederick Eldridge 


NuMBER 10 


NORMANDY COAST FISHER FOLK 
1880 Lent by Mrs. J. E. Jenkins 


[3] 


.817 x .464m. 


555 x .46m, 


916 x .735m. 


.48 x .28m. 


-78 X 1.224m. 


855 x .485m. 


.728 X .gI§m. 


555 x .464m, 


“418 x).42m. 


247 X .315m. 


NuMBER Il 
PORTRAIT OF HENRY ST. JOHN SMITH 
1880 Lent by Henry St. John Smith, Esq. 


NuMBER 12 


THE PARISIAN BEGGAR GIRL 


1880 Lent by Paul Schulze, Esq. 
NuMBER 13 

OYSTER GATHERERS 

1880 Lent by Miss Mary Appleton 


NuMBER I4 


VENETIAN GLASS WORKERS 


1881 Lent by Martin A. Ryerson, Esq. 
NuMBER I5 

PORTRAIT OF JAMES LAWRENCE ; 
1881 Lent by Mrs. Nathaniel F. Emmons 
NuMBER 16 

PORTRAIT OF MRS. JAMES LAWRENCE 

1881 Lent by Mrs. Nathaniel F. Emmons 
NuMBER 17 

THE SULPHUR MATCH 

1882 Lent by Louis Curtis, Esq. 


NuMBER 18 
VENETIAN WATER CARRIERS 
1882 Lent by the Worcester Art Museum 


NuMBER I9 


LADY WITH THE ROSE 
1882 Lent by Mrs. Harold Farquhar Hadden 


NuMBER 20 


PORTRAIT OF THORNTON K. LOTHROP 


1882 Lent by Mrs. Thornton K. Lothrop 
NuMBER 21 

DAUGHTERS OF EDWARD D. BOIT 

1882 Museum of Fine Arts 

NuMBER 22 

PORTRAIT OF MRS. CHARLES D. BARROWS 

1883 Lent by Henry St. John Smith, Esq. 


[4] 


.62 x .495m. 
.639 X .45m. 
41 X .603m. 
562 oo 
61 x 458m. 
OF X..458m, 
585 X .415m. 
64 X «702m. 
2.136% (i 34m, 
Jt, Sh oem, 
2.22 X 2.0mm. 


63. %iGomm, 


NuMBER 23 


PORTRAIT OF MR. AND MRS. JOHN W. FIELD ie ep tre 
1886 Lent by the Pennsylvania Academy of Fine Arts 

NuMBER 24 

VENETIAN INTERIOR .68 x .86m. 
1886? Lent by the Carnegie Institute of Fine Arts 

NuMBER 25 

VENETIAN BEAD STRINGERS 07 X47 75m: 
1886 Lent by the Buffalo Fine Arts Academy 

NuMBER 26 

PORTRAIT OF ROYAL E. ROBBINS 757 x .688m. 
1887 Lent by Mrs. John Caswell 

NuMBER 27 

PORTRAIT OF A CHILD 1.238 x .g16m. 
1887 Lent by Mrs. Austin Cheney 

NuMBER 28 

PORTRAIT OF CASPAR GOODRICH 663 x .485m. 
1887 Lent by Mrs. C. T. Davis 

NuMBER 29 

PORTRAIT OF MRS. CHARLES FAIRCHILD .498 x .46m. 
1887 Lent by Gordon Fairchild, Esq. 

NuMBER 30 

PORTRAIT OF MRS. ELLIOTT F. SHEPARD 2.135 X 1.2251n. 
1887 Lent by Mrs. William Jay Schieffelin 

NuMBER 31 

PORTRAIT OF GENERAL LUCIUS FAIRCHILD 1.278 x .826m. 
Before 1888 Lent by the State Historical Society of Wisconsin 

NuMBER 32 

PORTRAIT OF MRS. JACOB WENDELL 1553 x..91¢m, 
1888 Lent by Mrs. R. G. A. van der Woude 

NuMBER 33 

PORTRAIT OF MRS. ADRIAN ISELIN 1.535 x .g28m. 
1888 Lent by Miss Georgine Iselin 

NuMBER 34 

PORTRAIT OF DENNIS BUNKER 458 X .353m. 
1889 Lent by the Tavern Club 


[5] 


NuMBER 35 


PORTRAIT OF MRS. AUGUSTUS HEMENWAY 


1890 Lent by Augustus Hemenway, Esq. 
NumpBer 36 

PORTRAIT OF MRS. JAMES T. FIELDS 

1890 Lent by Boylston A. Beal, Esq. 
NuMBER 37 

THE COOK’S BOY 

About 1890 Lent by Mrs. Frederick Eldridge 


NuMBER 38 


THE BRITTANY BOATMAN 


Before 1890 Lent by Mrs. Frederick Eldridge 


NuMBER 39 
THE ARTIST’S SISTER ABOARD SHIP 


Before 1890 Lent by Mrs. Frederick Eldridge 


NuMBER 40 

BOY IN CHAIR 

1890? : Lent by Miss Sally Fairchild 

NuMBER 4I 

STUDY OF A YOUNG WOMAN 

1890? Lent by Gordon Fairchild, Esq. 
NuMBER 42 

PORTRAIT OF MRS. KISSAM 

1890? Lent by the Honorable Mrs. John F. A. Cecil 
NuMBER 43 

PORTRAIT OF MRS. WALTER RATHBONE BACON 
1890? Lent by the Honorable Mrs. John F. A. Cecil 
NuMBER 44 

SKETCH OF MISS LOUISA P. LORING 

1890 Lent by Miss Katharine P. Loring 
NuMBER 45 

PORTRAIT OF GEORGE PEABODY 

1890 Lent by George A. Peabody, Esq. 
NuMBER 46 


PORTRAIT OF HOMER SAINT-GAUDENS AND HIS MOTHER 


1890 Lent by Homer Saint-Gaudens, Esq, 


[6] 


77 x. bame 


764.% .E3hau 


.276 X .193m. 


337 X .264m. 


.275 X .194m. 


1.x 1.36m, 


.765 x .635m. 


$25: x 9nd 


2.075 X .gIm. 


762 x 637m. 


.847 x .66m. 


1.42 X .954m. 


NuMBER 47 


PORTRAIT OF MISS ELEANOR BROOKS (Mrs. R. M. Saltonstall) 


1890 Lent by Mrs. R. M. Saltonstall 
NuMBER 48 

SKETCH OF MISS ELEANOR BROOKS (Mrs. R. M. Saltonstall) 
1890 Lent by Mrs. R. M. Saltonstall 
NuMBER 49 

PORTRAIT OF PETER C. BROOKS 

1890 Lent by Mrs. R. M. Saltonstall 
NuMBER 50 

PORTRAIT OF MRS. PETER C. BROOKS 

1890 Lent by Mrs. R. M. Saltonstall 
NuMBER 51 

PORTRAIT OF MISS KATHERINE PRATT 

1890 Lent by the Estate of Frederick S. Pratt 
NuMBER 52 

PORTRAIT OF MRS. HAMILTON McKOWN TWOMBLY, 
1890 Lent by Mrs. Hamilton McKown Twombly 
NuMBER 53 

PORTRAIT OF MRS. FRANCIS H. DEWEY 

1890 Lent by Francis H. Dewey, Esq. 
NuMBER 54 

PORTRAIT OF BENJAMIN P. KISSAM 

1890 Lent by Arthur Train, Esq. 
NuMBER 55 | 

PORTRAIT OF A LADY (Ellen Loring) 

1890 Lent by Augustus P. Loring, Esq. 
NuMBER 56 

PORTRAIT OF MRS. EDWARD L. DAVIS AND SON 
1891 Lent by Livingston Davis, Esq. 
NuMBER 57 

PORTRAIT OF THE HONORABLE THOMAS B. REED 
1891 Lent by the United States House of Representatives 
NumBer 58 


SELF-PORTRAIT OF JOHN SINGER SARGENT 


1.54 X .94m. 


.42 X .49s5m. 


685 x .$95m. 


1.265 x 1.02m. 


1.025 x .765m. 


2.29 X 1.435m. 


QI X .734m. 


.812 x .66m. 


Lax tOtim. 


2.185 x 1.225m. 


823 x .665m. 


533 X .428m. 


1891 or 1892 Lent by the National Academy of Design of New York 


[7] 


NuMBER 59 


SPANISH COURTYARD .699 x .801m. 
Before 1894 Lent by Louis B. McCagg, Esq. 
NuMBER 60 
SPANISH GYPSY .463 X .28m. 
Before 1894 Lent by Louis B. McCagg, Esq. 
Numpser 61 
PORTRAIT OF MISS ADA REHAN 2.37 X 1.287m. 
1894 or 1895 Lent by Mrs. George Marston Whitin 
NuMBER 62 
PORTRAIT OF MISS HELEN SEARS 1.67 X .gim. 
1895 Lent by Mrs. Montgomery Sears 
NuMBER 63 
PORTRAIT OF GARDINER GREENE HAMMOND 79-x 2o7M, 
1895? Lent by Mrs. Gardiner Greene Hammond 
NumBeER 64 
PORTRAIT OF MRS. MONTGOMERY SEARS 1.48 x .g7m. 
1896 Lent by Mrs. Montgomery Sears 
NumBeEr 65 
PORTRAIT OF CLAUDE MONET 40 X27 32hn 
1897 Lent by the National Academy of Design of New York 
Numser 66 
PORTRAIT OF HENRY G. MARQUAND 1.303 < Roy. 
1897 Lent by the Metropolitan Museum of Art 
NuMBER 67 
PORTRAIT OF SENATOR CALVIN S. BRICE 1.478 X .973m. 
1898 Lent by Miss Helen Brice 
NumsBer 68 
PORTRAIT OF M. CAREY THOMAS, PRESIDENT EMERITUS 

OF BRYN MAWR COLLEGE 1.48 x .g66m. 
1898 Lent by Bryn Mawr College 
NuMBER 69 
PORTRAIT OF THE HONORABLE JOSEPH HODGES CHOATE 1.48 x .973m. 
1899 Lent by the Harvard Club of New York 
NuMBER 70 Ns 
PORTRAIT OF JAMES C. CARTER 1.447 x .g65m. 
1899 Lent by the Harvard Club of New York 


[8] 


NuMBER 71 


A STREET IN VENICE 44 80% 26 3ETG 
Before 1900 Lent by Mrs. Stanford White 

NuMBER 72 

SKETCH OF JOSEPH JEFFERSON 47 X .38m. 
1g00 Lent by the Executors of the Will of John Singer Sargent 

NuMBER 73 

LADY IN BOAT 51 x .684m. 
1900 Lent by Mrs. Montgomery Sears 

NuMBER 74 

PAUL HELLEU SKETCHING WITH HIS WIFE .663 x .816m. 
About 1900 Lent by the Brooklyn Museum 

NuMBER 75 

PORTRAIT OF MRS. WILLIAM C. ENDICOTT 1.64 X I.15m. 
I1gOI Lent by William C. Endicott, Jr. 

NuMBER 76 

PORTRAIT OF MRS. JOSEPH CHAMBERLAIN 1.50 x .82m. 
1902 Lent by Mrs. William C. Endicott 

NuMBER 77 

PORTRAIT OF JAMES WHITCOMB RILEY .QII X .759m. 
1903 Lent by the Art Association of Indianapolis 

NuMBER 78 

PORTRAIT OF MRS. CHARLES P. CURTIS 1.52 X .gom. 
1903 Lent by Charles P. Curtis, Esq. 

NuMBER 79 

HIS STUDIO ofa ctx’ LRT 
1903 Museum of Fine Arts 

NumsBer 80 

PORTRAIT OF EDWARD ROBINSON, ESQ. 1.418 x .g18m. 
1903 Lent by Edward Robinson, Esq. 

Numer 81 

PORTRAIT OF FREDERIC PORTER VINTON .65 x .4gm. 
1903 Lent by Mrs. Frederic Porter Vinton 

NumBeEr 82 

PORTRAIT OF MRS. FISKE WARREN AND HER DAUGHTER 

1903 1.5 X I1.00m. 


Lent by Fiske Warren, Esq. 
[9] 


NuMBER 83 


PORTRAIT OF MRS. WILLIAM C. ENDICOTT, JR. 1.42 x .885m. 
1903 Lent by William C. Endicott, Jr. 

NuMBER 84 

PORTRAIT OF THE HONORABLE WILLIAM CALEB LORING 

1903 1.43 X I.015m. 


Lent by the Honorable William Caleb Loring 


NuMBER 85 

PORTRAIT OF MRS. A. LAWRENCE ROTCH 1.44 X .g2m 
1903 Lent by Mrs. Henry Parkman, Jr. 

Numer 86 

PORTRAIT OF MAJOR HENRY L. HIGGINSON 2.447 X 1.523m, 
1903 Lent by Harvard University 

NumBeEr 87 

PORTRAIT OF THE HONORABLE JOHN HAY .76 x .636m 
1903 Lent by Clarence L. Hay, Esq. 

NumBER 88 

PORTRAIT OF MRS. CHARLES E. INCHES 61 x .86m 
1903 Lent by Mrs. Charles E. Inches | 

NuMBER 89 

PORTRAIT OF THEODORE ROOSEVELT 1.476 X I.0Im. 
1905 Lent by the United States Government 

NuMBER 90 

PORTRAIT OF LADY WARWICK AND SON 2.68 X 1.533m. 
1905 Lent by the Worcester Art Museum 

NuMBER gI 

PORTRAIT OF MANUEL GARCIA L377 © One 
1905 Lent by the Rhode Island School of Design 

NuMBER 92 

PORTRAIT OF MRS. GARDINER GREENE HAMMOND 89 x .636m. 
1905 Lent by Mrs. Gardiner Greene Hammond 

NUMBER 93 

GONDOLAS 374 X .45m 
About 1905 Lent by Robert C. Vose, Esq. 

NuMBER 94 

PORTRAIT OF GENERAL CHARLES J. PAINE 864 X «724m. 
1905? Lent by John B. Paine, Esq. 


[10] 


NumpBer 95 


PORTRAIT OF MRS. EDGAR SPEYER 1.47 xX .963m. 
1906 Lent by Mr. and Mrs. Edgar Speyer 

NuMBER 96 

PORTRAIT OF THE REVEREND ENDICOTT PEABODY .g6 x 1.47m. 
1906 Lent by the Groton School 

NuMBER 97 

PORTRAIT OF THE HONORABLE MRS. SWINTON R29 X1.23m; 
1906 and 1907 Lent by the Chicago Art Institute 

NuMBER 98 

PORTRAIT OF THE COUNTESS OF ESSEX 1.205 X .g45m. 
1907 Museum of Fine Arts and by the courtesy of the Misses Edwards 

NuMBER 99 

PORTRAIT OF WILLIAM C. ENDICOTT, Jr. 1.43 X .865m, 
1907 Lent by Mrs. William C. Endicott, Jr. 


NumBer 100 


PORTRAIT OF CHARLES W. ELIOT, PRESIDENT EMERITUS 


OF HARVARD UNIVERSITY 2.676 X 161m, 
1907 Lent by Harvard University 
NumBeEr IOI 
PORTRAIT OF MISS HELEN BRICE 1.492 x .87m. 
1907 Lent by Miss Helen Brice 
NuMBER 102 
PORTRAIT 1.53 X .g7m. 
1907 Lent by Mrs. Edward D. Brandegee 
NuMBER 103 
THE HERMIT .98 x .g8m. 
1908 Lent by the Metropolitan Museum of Art 
NuMBER 104 
PORTRAIT OF MRS. JOSEPH PULITZER 1-487 X .Q77m, 
1909-1910 Lent by Mrs. Joseph Pulitzer 
NuMBER I05 
DOLCE FAR NIENTE 41x FL Sm. 
About Ig10 Lent by the Brooklyn Museum 
NuMBER 106 
MOUNTAIN TORRENT, SIMPLON .875 x I.14m. 
IgIoO Lent by Mrs. Montgomery Sears 


[11] 


NuMBER I07 


NONCHALOIRE (Mme. Michel) .678 x .804m. 
IgII Lent by Mrs. Charles E. Greenough 

NuMBER 108 

PORTRAIT OF MRS. ARTHUR HUNNEWELL .89 x .7om, 
1911 Lent by Mrs. Arthur Hunnewell 


NuMBER I09 
RECONNOITERING 715 X .56m. 
Before 1912 ~— Lent by the Executors of the Will of John Singer Sargent 


NuMBER IIo 
TWO GIRLS FISHING 558 x .715m. 
1912 Lent by the Cincinnati Museum Association 


NuMBER III 


THE CONFESSION 713% .66itin 
1914 Lent by Desmond Fitzgerald, Esq. 

NuMBER II2 

THE MASTER AND HIS PUPILS 71 X 56m. 
1914 Museum of Fine Arts 

NuMBER 113 

SAN VIGILIO, A BOAT WITH GOLDEN SAIL 56 X.71M, 
1914 Lent by the Honorable Alvan T. Fuller - 

NuMBER I14 

TYROLESE INTERIOR 715 x .566m. 
1915 Lent by the Metropolitan Museum of Art 

NuMBER I15 

GRAVEYARD IN THE TYROL .gI X .7Im. 
1914 or 1915 Lent by Robert T. Paine, 2d 

NuMBER 116 

INSIDE A TENT 565 xX .7I4m. 
1916 Lent by Mrs. John W. Elliot 

NuMBER I17 

TENTS AT LAKE O’HARA .56 x .7Im. 
1916 Lent by Thomas A. Fox, Esq. 

NumMBeErR 118 

LAKE O’HARA 953 X I.44m. 
1916 Lent by the Fogg Art Museum 


[12] 


NuMBER II19 


PORTRAIT OF JOHN D. ROCKEFELLER, ESQ. 1.486 x I.17m. 
1917 Lent by John D. Rockefeller, Jr. 

NuMBER 120 

PORTRAIT OF JOHN D. ROCKEFELLER, ESQ. 1.487 x 1.154m. 
1917 Lent by John D. Rockefeller, Jr. 

NumBeErR 121 

FOUNTAIN AT POCANTICO HILLS 7h X 40M, 
1917 Lent by the St. Botolph Club 

NuMBER 122 

THE ROAD 67 X .382m. 
1918 Museum of Fine Arts 


NuMBER 123 
PORTRAIT OF DANIEL J. NOLAN 079 % .§23m. 
Ig18 Lent by the Corcoran Gallery of Art 


NuMBER 124 
PORTRAIT OF HOLKER ABBOTT, ESQ. Exc O tit, 
1920 Painted for the Tavern Club and given to it by the artist. 


NuMBER 125 


PORTRAIT OF CHARLES H. WOODBURY, ESQ. he ae ar DLs 
1922 Lent by Charles H. Woodbury, Esq. 


NuMBER 126 


THE ARTIST SKETCHING .566 x .709m. 
1923 Lent by Mrs. R. T. Crane, Jr. 


NuMBER 127 


PORTRAIT OF A. LAWRENCE LOWELL, PRESIDENT OF 1.396 x .987m. 
HARVARD UNIVERSITY 
1924 Lent by Harvard University 


NumBer 128 
MARBLE QUARRY AT CARRARA “7iG Xs.g2m. 
Lent by the Metropolitan Museum of Art 


NuMBER 129 
CHILD’S PORTRAIT 664050 1M. 
Lent by Mrs. J. Woodward Haven 


NuMBER 130 


THE CHESS PLAYERS JO=me sat. 
Lent by Albert M. Snook, Esq. 


[13] 


NuMBER 131 
A YOUNG GIRL 41 X59 eit 
Lent by Mrs. Charles J. White 


NuMBER 132 
THISTLES 565 x .716m. 
Lent by Miss Grace Nichols 


NuMBER 133 


CAPRI .769 x .628m. 
Lent by Mr. and Mrs. Francis A. Neilson 


NUMBER 134 


JAVANESE DANCER .779 X .813m. 
Lent by the Honorable Alvan T. Fuller 


NuMBER 135 


A STUDY OF ARCHITECTURE, FLORENCE 712 x .89m. 
Lent by the Honorable Alvan T. Fuller 


NuMBER 136 


A FRANCISCAN MONK IN THE GARDEN OF GETHSEMANE, .686 x .56m. 
Lent by the Honorable Alvan T. Fuller 


NuMBER 137 


A NEAPOLITAN BOY 447 X 357m. 
Lent by the Honorable Alvan T. Fuller 


NuMBER 138 


HEAD OF A NEAPOLITAN BOY, WEARING A RED CAP 47 X .343m. 
Lent by the Honorable Alvan T. Fuller 


NuMBER 139 
HEAD OF CHRIST 664 x .458m. 
Museum of Fine Arts 


NuMBER 140 


HEAD OF A BOY $2 % 42m, 
Lent by Mrs. Sullivan A. Sargent, Jr. 


NuMBER I4I 


OLIVE TREES AT CORFU 673 X .gt4m, 
Lent by the Honorable Breckinridge Long 


NuMBER 142 
PORTRAIT SKETCH 1.015 x .765m. 
Lent by the Estate of Frederick S. Pratt 


NuMBER 143 


GARDEN SKETCH 61 X .458m. 
Lent by the Estate of Frederick S. Pratt 


[14] 


WATER-COLORS 


AN ATTEMPT HAS BEEN MADE HERE TO LIST 
THE PAINTINGS ACCORDING TO THE DATES OF EXECUTION 
AS FAR AS IT IS POSSIBLE TO DETERMINE THEM 





WATER-COLORS 


NuMBER I 

BELOW NIAGARA FALLS 

1876 Lent by Mrs. John W. Elliot 
NuMBER 2 


245 X .345m. 


UNFINISHED SKETCH OF AN ITALIAN MODEL WITH COPE 


1890 Lent by Henry Forbes Bigelow, Esq. 
NuMBER 3 

TERRACE IN A FLORIDA GARDEN 

1900 Lent by G. R. Agassiz, Esq. 
NuMBER 4 

THOMAR, PORTUGAL 

1903 Museum of Fine Arts 
NuMBER § 

EVORA, PORTUGAL 

1903 Museum of Fine Arts 
NuMBER 6 

SANTIAGO DE COMPOSTELA, SPAIN 

1903 Museum of Fine Arts 
NuMBER 7 

VILLA FALCONIERE 

1907 Museum of Fine Arts 
NumBer 8 

GENOA — THE UNIVERSITY 

1908 Museum of Fine Arts 
NuMBER 9 

ARAB GYPSIES IN A TENT 

Before 1909 Lent by the Brooklyn Museum 
NuMBER Io 

BEDOUIN MOTHER 

Before 1909 Lent by the Brooklyn Museum 


17 | 


-474 X .293m. 


395 X 525m. 


30 X 45m. 


.30 X .45m. 


30 X .45m. 


37 X 535m. 


525 X .405m. 


-297 X .447m. 


451 X 30m. 


Numser I1 
ARAB STABLE 
Before 1909 Lent by the Brooklyn Museum 


NuMBER 42 
FROM MOUNT TABOR 
Before 1909 Lent by the Brooklyn Museum 


NuMBER 13 
GOURDS 
Before 1909 Lent by the Brooklyn Museum 


NuMBER 14 
AT FRASCATI 
Before 1909 Lent by the Brooklyn Museum 


NuMBER IS 
TOMB AT TOLEDO 
Before 1909 Lent by the Brooklyn Museum 


NuMBER 16 
OPUS ALEXANDRINUM 
Before 1909 Lent by the Brooklyn Museum 


NuMBER 17 
PERSEUS BY NIGHT 
Before 1909 Lent by the Brooklyn Museum 


NumBer 18 
STAMBOUL 
Before 1909 Lent by the Brooklyn Museum 


NuMBER 19 
CORFU—A RAINY DAY 
1909 Museum of Fine Arts 


NuMBER 20 
CORFU—THE TERRACE 
1909 Museum of Fine Arts 


NuMBER 21 
CORFU—LIGHTS AND SHADOWS 
1909 Museum of Fine Arts 


NuMBER 22 
CORFU—CYPRESSES 
1909 Museum of Fine Arts 


[18 ] 


206%". 462sn, 


-201.X 5350 


351 X .5om. 


348 xX .502m. 


36 X .243m. 


247 X 347M. 


536 x .395m. 


32 X .449m. 


37 X 54m. 


525 X .40m. 


40 X 525m. 


40 X 52m. 


NuMBER 23 


MARLIA 
IgIo Museum of Fine Arts 
NuMBER 24 


MARLIA FOUNTAIN 
IgIo Museum of Fine Arts 


NuMBER 25 


DAPHNE 


1910 Museum of Fine Arts 


NuMBER 26 
LA BIANCHERIA 
1910 Museum of Fine Arts 


NuMBER 27 
THE BALUSTRADE 


IgI0 Museum of Fine Arts 


NuMBER 28 
VINES AND CYPRESSES 
1gI0 Museum of Fine Arts 


NuMBER 29 
TORRE GALLE 
1910 Museum of Fine Arts 


NuMBER 30 
TORRE GALLE—WINE BAGS 


1910 Museum of Fine Arts 


NuMBER 31 
BOBOLI 
1910 Museum of Fine Arts 


NuMBER 32 
BOBOLI FOUNTAIN 
IgIo Museum of Fine Arts 


NuMBER 33 
THE GARDEN WALL 
IgI0 Museum of Fine Arts 


NuMBER 34 
THE CASHMERE SHAWL 


IgiI Museum of Fine Arts 


[19 ] 


405 X .53m. 


405 x. 525m, 


oh zhx 40M, 


405 X .525m, 


40 X 525m, 


36 X .505m. 


.695 x .655m. 


CEOS xe. 971. 


Os Mea, | 


355 X .Som. 


40 X .525m. 


§05 30M, 


NuMBER 35 
SHALLOWS 


IgII 


NuMBER 36 
ATsTHESTOP 


IgII 


NuMBER 37 
THE FOREGROUND 


IgiI 


NuMBER 38 
THE LESSON 


IgII 


NuMBER 39 
CARRARA QUARRY 


IgII 


NuMBER 40 


CARRARA WORKMEN 


IgII 


NuMBER 4I 


QUARRY AT CARRARA 


IgII 


NuMBER 42 
CHALETS 


IgII 


NuMBER 43 
THE TEASE 


IgII 


NuMBER 44 
CRAGS 


IgII 


NuMBER 45 
READING 


IgII 


NuMBER 46 
MOUNTAIN BROOK 


IgII 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


[ 20 ] 


40 X 525m. 


40 X a5 Sins 


355 XSite 


38 x .46m. 


0356 x 405mm 


355 X .g05m. 


525 X .40Om. 


40 X 525m. 


40 X .525m. 


355 X -495m. 


«505 X .355m. 


-355 X Sm. 


NuMBER 47 
THE GREEN PARASOL 


IgII 


NumBeEr 48 
FRESH SNOW 


IgII 


NuMBER 49 
AVALANCHE TRACK 


IgII 


NuMBER 50 
VENICE—I GESUATI 


IgII 


NuMBER 51 
VENICE—LA DOGANA 


IgII 


NuMBER 52 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


MONSIEUR DERVILLE’S QUARRY 


IgII 


NuMBER 53 

TRAJAN’S QUARRY 
IgII 

NuMBER $4 

LIZZATORI I 


IgII 


NuMBER 55 
LIZZATORI II 


IgII 


Numer 56 
WET QUARRIES 


IgII 


NuMBER 57 
IN A QUARRY 


IgII 


Numer 58 
MARMO STATUARIO 


IgII 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Museum of Fine Arts 


Gat 


* 


40 X..§25M. 


355 X -495m. 


633-X «525m. 


355 X 495m. 


80S X7.95 Sine 


405 X .53M. 


405 X 53m. 


53 X 405m. 


Ook 3s 


405 X .$3m. 


405 X .53m. 


i36x .5Im. 


NuMBER 59 
LITTLE QUARRY 
1gII Museum of Fine Arts 


NumBeEr 60 
QUARRY 
IgII Museum of Fine Arts 


Numser 61 
VENICE—LA SALUTE 
IgII Museum of Fine Arts 


NuMBER 62 
VENICE—UNDER THE RIALTO 
1911 Museum of Fine Arts 


NuMBER 63 
SPANISH FOUNTAIN 
1912 Lent by the Metropolitan Museum of Art 


NuMBER 64 
ESCUTCHEON OF CHARLES V 
1912 Lent by the Metropolitan Museum of Art 


NumBEr 65 
MAN SEATED BY A STREAM 
1912 Lent by George H. Webster, Esq. 


Numper 66 
YACHTS AT FAYAL 
1912 Lent by Mrs. Richard D. Sears 


NumBeEr 67 
IDLE SAILS 
1913 Lent by the Metropolitan Museum of Art 


Number 68 
SIRMIONE 
1913 Lent by the Metropolitan Museum of Art 


NumBer 69 
CAMPING NEAR LAKE O’HARA 
1916 Lent by the Fogg Art Museum 


NuMBER 70 
STUDY IN GREENS 
1917 Lent by Miss Katharine P. Loring 


[22] 


355 XeSint. 


36 X .51m. 


.40 X .525m. 


275 x .48m. 


529 X .343m. 


30 X .447m. 


375 X 445m. 


#304 X .457m. 


337 X -535m. 


39} x524m 


382 x 52m. 


398 X .53I1m. 


NumBeER 71 


SHADY PATHS, VIZCAYA 


1917 Lent by the Worcester Art Museum 

NuMBER 72 

THE LOGGIA, VIZCAYA 

1917 Lent by the Worcester Art Museum 

NuMBER 73 

THE TERRACE, VIZCAYA 

1917 Lent by the Worcester Art Museum 

NuMBER 74 

THE DERELICTS 

1917 Lent by the Worcester Art Museum 

NuMBER 75 

MUDDY ALLIGATORS 

1917 Lent by the Worcester Art Museum 

NuMBER 76 

THE BATHERS 

1917 Lent by the Worcester Art Museum 

NuMBER 77 

VASE FOUNTAIN, POCANTICO 

1917? Lent by the Executors of the Will of 
John Singer Sargent 

NuMBER 78 

TWO SOLDIERS, POPERINGHE 

1918 Museum of Fine Arts 

NuMBER 79 

PORTRAIT OF MRS. WILLIAM JAMES 

1921 Lent by William James, Esq. 

NuMBER 80 

THE OLD WHARF 

1921 Lent by Dwight Blaney, Esq. 

NuMBER 81 

RYEFIELD BEACH 

1922 Lent by Dwight Blaney, Esq. 

NumBeEr 82 

ON THE VERANDAH 

1922 Lent by Dwight Blaney, Esq. 


[ 23 ] 


392 X 525m. 


LEGS 8 ae Tove 


337 X 522m, 


34 X .522m. 


R97 x -c20m, 


“392% 669m. 


263 X .4001. 


Eis c re dsae 


Wy fm ose ON i 


395 X 525m. 


49 x -§2Me 


38 X .52Me 


Numser 83 


DUBLIN LAKE 


1922 Lent by Mrs. John W. Elliot 
NuMBER 84 

WHARF AT IRONBOUND 

1922 Lent by Mrs. John W. Elliot 
NuMBER 85 

WOODS IN MAINE 

1922? Lent by Mrs. Montgomery Sears 
NuMBER 86 

RAINY DAY ON DECK OF YACHT CONSTELLATION 
1924 “Lent by Herbert M. Sears, Esq. 
NuMBER 87 

ON THE DECK OF THE YACHT CONSTELLATION 
1924 Lent by Herbert M. Sears, Esq. 
NuMBER 88 


TENT, BAILLEULVAL 
Museum of Fine Arts 


NuMBER 89 
THE SHADOWED STREAM, FRANCE 
Museum of Fine Arts 


NuMBER 90 
FRESH SNOW 
Lent by Mrs. J. D. Cameron Bradley 


NuMBER gI 


ROCKY MOUNTAIN CAMP SCENE 
Lent by Mrs. Edward D. Brandegee 


NuMBER 92 


INTERIOR OF A CHURCH (CATHEDRAL OF TOLEDO) 
Lent by Charles Martin Loeffler, Esq. 


NuMBER 93 
IN THE GENERALIFE 
Lent by the Metropolitan Museum of Art 


NuMBER 94 
CANAL ENTRANCE 


Lent by J. Randolph Robinson, Esq. 
[24] 


505X665 2015 


38 X .2m. 


34.55 Gils 


-323 X .6 20m, 


369 x .446m. 


335 Seago 


-345:X .2A0roy 


te te Lat 


38 Xi0h2In. 


247 X 349m. 


373 X 453m. 


melee ots 1). 


NuMBER 95 
SCHOONER CATHERINE, SOMESVILLE 


Lent by Richard W. Hale, Jr. 
NuMBER 96 
SAND BEACH, MT. DESERT 
Lent by Mrs. Richard W. Hale 


NuMBER 97 
MARBLE VASE IN A SPANISH GARDEN 
Lent by Mrs. Montgomery Sears 


NumBeEr 98 
OLIVE GROVE 
Lent by John S. Ames, Esq. 


NuMBER 99 


YPRES (Unfinished) 
Lent by Mrs. Henry Lyman 


NuMBER 100 


THE OLD SHED 
Lent by Mrs. Henry Lyman 


NuMBER IOI 
SADDLE HORSE, PALESTINE 
Anonymous 


NuMBER 102 


MAGNOLIAS 


Anonymous 


NuMBER 103 


BOAT YARD SHOWING HULL 


Lent by the Executors of the Will of 
John Singer Sargent 


NuMBER 104 


NEGRO DRINKING 
Lent by the Executors of the Will of 
John Singer Sargent 


NuMBER 105 


PALMS AGAINST THE SKY 


Lent by the Executors of the Will of 
John Singer Sargent 


NumsBeEr 106 


PALM THICKET 
Lent by the Executors of the Will of 
John Singer Sargent 


[25 ] 


2326 X .S18m, 


328 xX .¢2m. 


418 x .252m. 


-396 X .522m. 


E231 x1 52 3nit. 


or Sain. 


35 X .248m. 


#30 X «457m. 


s02 3). coin, 


348 X .$32m. 


2397) X .§ 2ie 


398 X .532m. 


NuMBER 107 


LANDING, MIAMI 
Lent by the Executors of the Will of 
John Singer Sargent 


NuMBER 108 


TREES ON HILLSIDE, MAJORCA 
Lent by the Honorable Alvan T. Fuller 


NuMBER 109 


VILLA CORSINI, NEAR FLORENCE 
Lent by the Honorable Alvan T. Fuller 


NuMBER IIO 


A RENDEZVOUS 
Lent by Mrs. Richard D. Sears 


NuMBER III 


THE QUARRY, CHOCORUA 
Lent by Mrs. Bayard Thayer 


NuMBER I12 


LAKE O'HARA 
Lent by Edward W. Forbes, Esq. 


NuMBER 113 


SKETCH NEAR JUNE STREET 
Lent by the Estate of Frederick S. Pratt 


[26] 


397% -632m: 


388 x .528m. 


35x Sin 


$23 X 307m 


316 X .507m, 


385 xX .518m. 


246 X .334m. 


REPRODUCTIONS OF SOME OF 
MR. SARGENT’S 
BEST KNOWN PAINTINGS 









rigs x 
ee FP; 


vn eae? 


a 





THE SULPHUR MATCH 





LADY WITH THE ROSE 


No. 19 





DAUGHTERS OF EDWARD D., BOIT 





PORTRAIT OF MRS, AUGUSTUS HEMENWAY 


C8 ie wie ae FE Ree ERS IY Kae WSR We dre 
HALLE IR Ni NI ae Alii Sod wm + 


—_ 


Cd nat, © 


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=f 


— 





PORTRAIT OF MRS, PETER C, BROOKS 


No. 50 





PORTRAIT OF A LADY (Ellen Loring) 





PORTRAIT OF MISS ADA REHAN 


No. 61 





PORTRAIT OF MISS HELEN SEARS 


No. 62 





PORTRAIT OF HENRY G. MARQUAND 


No. 66 





PORTRAIT OF SENATOR CALVIN 5S. BRICE 


No. 67 


PORTRAIT OF M, CAREY THOMAS, President Emeritus of Bryn Mawr College 


No. 68 








PORTRAIT OF THE HONORABLE JOSEPH HODGES CHOATE 


No. 69 





PORTRAIT OF MRS, WILLIAM C, ENDICOTT 


No. 75 





PORTRAIT OF MRS. JOSEPH CHAMBERLAIN 


No. 76 





PORTRAIT OF EDWARD ROBINSON, ESQ, 


No. 80 





PORTRAIT OF MRS, A, LAWRENCE ROTCH 


No. 85 





PORTRAIT OF MAJOR HENRY L. HIGGINSON 


No. 86 





PORTRAIT OF THE HONORABLE JOHN HAY 


No. 87 





PORTRAIT OF THEODORE ROOSEVELT 


No. 89 





PORTRAIT 


enn 


Sea 





THE CONFESSION 


TII ON 


STIdNd SIH GNV WALSVYW AHL 








TYROLESE INTERIOR 


No. 114 





GRAVEYARD IN THE TYROL 


IN Ont US 





LAKE O'HARA 





PORTRAIT OF JOHN D, ROCKEFELLER, ESQ, 


No. 120 





PORTRAIT OF CHARLES H, WOODBURY, ESQ, 


IN One u2.4 





PORTRAIT OF A, LAWRENCE LOWELL, President of Harvard University 


No. 127 





PHOTOGRAPH OF JOHN SINGER SARGENT 


Courtesy of Mrs. Montgomery Sears 


we 


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Graphic Arts Building 
BOSTON, MASS. 


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